The musings of a wandering minstrel, this is a place for friends, enemies and other acquaintences to share their thoughts on the noblest of all the arts and whatever else strikes their fancy. Here's wishing all who stop here peace and prosperity along the journey.

Recorded 21-23 November 2006 at Auditoria Stelio Molo, Lugano, Svizzera.

VIRGIN CLASSICS 00946 385786 2 [75:09]

Virgin Classics are pairing up two of their hottest young guns in the persons of Gautier Capuçon and Gabriela Montero for this sweeping collection of late romantic and early modern works for cello and piano.

Rachmaninov had just begun to recover from a bout of depression brought on by the failure of his first symphony when he composed both his second piano concerto and this sonata for cello. Eschewing traditional sonata structure, he created a bold work for the piano with a cello part that seldom could be called virtuosic and would more appropriately be deemed orchestral. And yet, the two parts come together to make an impressive whole; a tone poem for solo instruments of sorts.

Mr. Capuçon is one of the finer young artists to come along in recent years, and I have spoken favorably of his work both as a soloist and in chamber music performances in the past. Ms. Montero, who has made a name for herself not only as a virtuoso, but also as a fine improviser, is well paired here providing some fiery playing where called for and fully in command of the work’s demanding requirements. This is a performance of many shades and nuances, bold when needed and subtle at other times with careful attention to balance and to the rise and fall of tension within the music.

The two transcriptions that round out the first half of the recital are pleasant enough additions, but do we really need another snippet from the Paganini variations? Not really in my opinion. Its inclusion seemed more like a tacked on selling point than a real artistic expression.

On to the Prokofiev. This, strangely enough is perhaps a more melodic work than the Rachmaninov. I have always found Prokofiev to be a master of a good tune, even if that tune is a bit disjunctive at times. Written for Rostropovich, it is work full of ideas, overflowing with ear catching and beautifully constructed counterpoint. Our artists give us a fine performance here, again, exquisitely balanced and cleanly and articulately delivered.

These young artists appear fully equipped to become the legends of their generation, and it is most encouraging to see EMI putting forth an ambitious amount of new releases with these rising stars. Kudos to all concerned and a here’s a strong recommendation for some very fine performances indeed.

Stravinsky composed five works that used the word symphony in their titles, but it is the three presented here that come the closest to the classical symphony as we know it, and even these have some substantial alterations. Sir Simon Rattle and the Berliners present taut and energetic performances in this latest installment of a series of live concert recordings by these forces to be released on EMI.

The Symphony in Three movements had its origins as a concerto for orchestra, and was begun in 1942. It was not completed nor was it even intended to be a symphony until Stravinsky was commissioned by the New York Philharmonic to write a sort of ‘victory’ work at the end of the Second World War. It received its first performance in 1946 at Carnegie Hall. Thicker and with more resonant sonorities than the other two works in this program, the music takes a bit more ear space to absorb. Rattle takes advantage of the Berlin orchestra’s brilliance by letting loose with a generous amount of sound. Yet he never sacrifices clarity. To these ears the live recording is a bit dry, but there is enough boom to ensure a thrill or two.

The Symphony of Psalms was commissioned by Serge Koussevitsky and the Boston Symphony to celebrate the Orchestra’s fiftieth anniversary. That the composer delivered a choral work was a bit of a surprise to all, but the choice of texts, and the work’s dedication first to the glory of God, and then to the orchestra was a clear indication that Stravinsky had not only rediscovered his Russian Orthodox roots, but had begun to delve into the thick of Roman Catholic theology. The result is an austere but rather poignant work, curiously orchestrated and full of rhythmic contrast. Rattle captures the devotional spirit of the work, but it seemed to these ears that the chorus phoned it in. The tone is professional enough, but there is little true commitment to the texts. The choir lacks warmth for the most part, and this is particularly evident in the gorgeous moments of repose at the beginning and end of the final Psalm.

The Symphony in C was also American inspired, and was given its first performance in Chicago, the orchestra to whom it is dedicated, in 1940. Stravinsky clearly had the classical symphony mind as he cast the work in the über conservative key of C major, and laid it out in the traditional four movements; vigorous and fast on the outer edges with a slow movement and scherzo for the inner workings. Of the three performances, this one is the most convincing, with Rattle drawing clear and even sparse sounds from the orchestra and paying careful attention to Stravinsky’s very well constructed counterpoint. The first movement gives us ample joie de vivre as well.

It seems logical in these days of monumental recording costs for small returns that even an orchestra as well funded as Berlin would lean toward live recordings instead of meticulously edited studio projects. It is rather refreshing to hear an orchestra play through whole works on the fly as it were. Berlin’s audiences are most kind as there is no hint of noise whatever. EMI’s entertaining “Opendisc” format, by which you can access a plethora of multi-media material via the internet and rack up points toward free downloads is an added bonus.